It’s a writer’s truism: the most important paragraph is the first one. It opens the door to the reader, inviting him or her to come into the place you have prepared for them. Your opening must convince them that this place is somewhere they want to visit, and perhaps stay for a long time. I have two rules for writing openings, which I (almost) always try to live up to. Here they are: The first rule is to provide a few sensory details in the first paragraph, so the reader feels as though they are “there.”  What does the character or setting look like? Colors, shapes, designs? What sounds are there? Loud voices, whistles, screams, bells? What smells? Strong like gasoline? Sweet like lilacs? Wet wool drying on a radiator? What tactile sensations? Soft wind on skin? The rough scrape of a poorly shaved chin?  The second rule is that the first scene should either encapsulate or foreshadow the theme of the entire chapter or book. Here’s an example from a book I work...

Two things I almost always comment on when editing a client's manuscript are a story's beginning and chapter/scene endings. When I comment on these two story components, I tend to discuss TV shows and make the suggestion that we borrow what successful shows do and apply it to our novel writing. Today, I'll offer insight on how TV shows can help you develop your story's beginning. In the beginning... We all know how important a story's beginning is. Because a story has a beginning, middle, and an ending, some writers start their story at the very beginning, meaning, they use their first chapter to set us up with who the main characters are, where they live, and what they do. Toward the end of that first chapter, we might get a hint of conflict. Many times, especially in early drafts, we don't. When you consider the reader of said first chapter, that would be a problem. William Rabkin, in his book, Writing the Pilot , states that "what you're doi...

Wait! I can’t begin with that. It’s been used before. It was a dark and stormy night… Rats! That’s been used, too. Call me Ishmael. No one in my story is called Ishmael. Photo by Ed Yourdon , via Flickr Do you have a problem with opening hooks and stilted characters in the beginning of your story? Judging from the manuscripts I’ve edited, the opening sentence, first page, and first chapter are often the most difficult to write. Why? We’ve crafted our character sketches and outlined our plot. We know how the story will play out and how it’s likely to end. Yes, but… Our characters may be clearly defined on paper—or perhaps in our minds—but these formal introductions don’t give us the intimate knowledge we need to flesh them out on page one. We haven’t yet shared morning coffee with them, held their hands during a crisis, felt their pain when things go terribly wrong, laughed at their corny jokes, or wrapped our arms around them after everyone else walks away. In other ...

No matter how you think you want to begin the first few pages of your book, there are other people with a vested interest in your first chapter. It may seem unfair but you first need to sell your story before it will ever be read. Your first chapter, and, even more importantly your first page, is your demonstration product for your sales pitch. Your first sales pitch will be to an agent or publisher, or both. The second sales pitch is to the buyer in the bookstore, who may read the first few pages, a whole chapter, or simply judge your book by its cover and/or blurb. You don’t want to lose a sale with a weak opening page. Agents and publishers have specific expectations of a first chapter. Although there are always exceptions, following the generally agreed guidelines as to what makes a good first chapter could improve your chances of having the rest of your manuscript requested, and eventually being offered a contract. The first chapter should begin just before a pivotal event ...